NASHVILLE, TENNESSEE: Although the Country Music Association is perhaps best known for its annual CMA Awards show, the organization is constantly working to support and promote country music. The CMA’s headquarters in Nashville is a hive of activity and is frequently visited by the genre’s biggest stars and its most promising freshmen. Recently, the CMA decided to convert its atrium into a small-scale performance venue for intimate concerts, parties, and meetings. Morris Light & Sound of Nashville installed its sound reinforcement system, relying on the Symetrix Jupiter 8 processor paired with the Symetrix ARC-WEB Internet-based interface to provide system conditioning and intuitive user control that is accessible from the staffs’ smartphones.

“The idea was that, say, Garth Brooks or some other big name could stop by the CMA and play a small acoustic set as a ‘thank you’ to the staff,” explained John more

NORTHRIDGE, California – HARMAN Professional’s Polish distributor, ESS Audio, has announced a major sale of a HARMAN JBL VTX line array system including Crown Audio VRacks to a consortium of PA companies in the Krakow region.

Between them, Audio-Tech and Music Cook Sound Design (MCSD) have purchased 64 of the VTX V25 line array elements and 44 G28/S28 arrayable subwoofers. To power its VTX system, the consortium has invested in 66 Crown I-Tech IT 12000HD amplifiers, divided into 22 VRack systems.

With an active roster of concerts, festivals and other events, the companies are now ready to fire up JBL’s impressive new large-format system that features the revolutionary new D2 dual-diaphragm, dual-voice-coil compression drivers mounted on a next generation waveguide.

Working with ESS Audio, the two rental companies took the opportunity to introduce the system to fellow industry professionals at a live event. Confirmed ESS Audio director, Witold Karalow, “The reaction couldn’t have been more positive. All sound engineers and event company representatives were stunned by the SPL and overall sound quality of the system.”

The event was supported by Gert Sanner, HARMAN Professional’s Tour Sound Market Manager (EMEA), who trained Audio-Tech and MCSD technicians before setting up the system for the show based around 15 of the V25′s on each main PA hang, with 10 of the G28 subs on each side.

The consortium had been close to investing in an alternative system when they learned that the new JBL VTX system was being launched at January’s NAMM Show in California. On the strength of the spec, the recommendation from ESS Audio and the reputation of JBL, they changed tack and placed an order-in fact, the first time they heard the system was in March, at the HARMAN/AED Rent VTX Listening Experience in Belgium.

“They were already confident the system would sound great because of the construction of the new driver and because of the many others innovations in VTX,” confirmed Karalow. “Besides, JBL is known as the leader in pro audio.”

Karalow’s own first experience of VTX was at the HARMAN Professional conference prior to NAMM. “I was very excited about the sound compared with the primary systems it was competing against-it was certainly a lot better in the high frequency,” he noted. “But when I heard the system complete with the G28′s in Poland, I was speechless. The subs sounded just amazing-fast and clear-while the power is huge.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

KanexPro (InfoComm booth # C7247) , the leading A/V Connectivity solutions provider is proud to introduce Audio De-Embedders with full 3D support. Audio De-Embedder is a simple device, designed to extract HDMI audio from HDMI signals. It outputs to analog 2-channel stereo and digital S/PDIF simultaneously providing multichannel audio up to 5.1 surround sound. Supports data rates up to 6.75 Gbps to all channels with HDMI 1.3 Deep Color. The audio De-embedder is HDCP compliant, displaying resolutions to 1080p/60 and PC resolutions up to 1920×1200.

Input cable equalization on the audio De-embedder compensates for weak source signals or signal loss when using long input cable runs. Supports wide variety of audio formats from two-channel PCM or encoded bit stream audio for Dolby® Digital to 5.1 DTS® Digital Surround.
The Kanex Audio De-embedder is a perfect problem solver for many applications that require audio extraction from HDMI signals.

About KanexProâ„¢

Leveraging our core strength in professional A/V products, KanexPro carries a complete selection of A/V connectivity needs. When planning digital installations you will find that we carry a broad line of A/V connectivity products enabling you to broadcast, extend, split, or multiply HD signal transmissions; simply and cost-effectively.
KanexPro is a registered trademark. All other trademarks and registered trademarks mentioned herein are the property of their respective owners.

Solution is Alternative to Traditional Switching and Splitting; Three SKUs Replace Thousands and Dramatically Simplify Installations more

DPA 4023 and 4028 Microphones Used for All Performances

New World Symphony’s Director of Audio Services Roberto Toledo relies on DPA Microphones’ 4023 compact cardioid microphones and 4028 compact wide cardioid microphones for all performances at the New World Center, including the recent Juanes MTV “Unplugged� concert.

New World Center in Miami is home to the New World Symphony, America’s Orchestral Academy. This Frank Gehry-designed building and the music presented through the leadership of Artistic Director and renowned conductor Michael Tilson Thomas, reflect the height of musical and architectural excellence.

DPA microphones are the mics of choice for all musical events presented by the New World Symphony at New World Center. For an orchestral concert, the DPA mics used include the 4023 or 4028 for the wind instruments and additional 4023s for spot mics when needed. Toledo is very familiar with DPA and was happy to discover the mics were a part of the center’s sonic toolkit. “When I came to New World Symphony, I was very pleased with the extensive selection of DPA microphones that would be available to me,� he says.

For the symphony’s WallCasts performances in particular, the microphones need to be as unobtrusive as possible. The WallCasts are special events where performances of the New World Symphony at the New World Center are projected live onto a 7,000-square-foot projection wall at Miami’s SoundScape Park. Since the performances for the WallCasts appear very large with outside projection, the mics and the shadows they create are magnified and need to be reduced as much as possible. DPA’s 4023 or 4028 along with 4053 compact omnidirectional microphones give viewers in the park the feeling of being there in the performance space with minimal impact to the visuals. “For our shows, smaller is better,� says Toledo. “We have five projection surfaces with fourteen 30k Christie Roadhouse projectors shooting at multiple angles, so if a shadow is created by audio equipment, again, a smaller shadow is better. When we do our WallCasts, we can have up to 10 robotic cameras being used to project the concert to the audience outside. Again, if a microphone is in one of the camera shots, it is more acceptable if it is small, which the DPA mics are.�

Although New World Symphony primarily presents classical music, the look and sound of the space lent itself to a recent MTV “Unpluggedâ€� concert by the Colombian singer/songwriter/guitarist Juanes. As Toledo explains, for the “Unpluggedâ€� concert, the producers were looking for clean visuals to pair up with great sound. DPA was able to deliver on both. “For Juanes, the issue was more about what was seen in the camera shot,â€� Toledo states. “With the exception of Juanes’s vocal mic, all the other mics had to be as hidden as possible. Getting good sound from the choir [that performs with Juanes] was important, but having mics not being seen or being seen as little as possible by the cameras was also a priority. Since the DPA mics are black, as is the Flamingo hardware used with them, we were able to position them as needed while making sure it did not become an issue for the director of the show.â€�

Toledo found that the microphones’ sizes in no way compromised their sound quality. “Since we own only DPA’s Compact Series of microphones, their size has been the biggest asset,â€� he says. “In my mind, there is no degradation in quality compared to the stand-body versions, so visual impact is minimal, but I still get the usual DPA sound. For our shows, the DPAs have been nothing but spectacular. One thing I appreciate about our DPAs is that I have to do little to no equalization to our main array. It’s simply a matter of getting the mics in the right spot. The less processing I have to do, the better, and with the DPAs, that’s pretty much what I get.â€�

About DPA
DPA Microphones A/S is a leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit: www.dpamicrophones.com.

DPA 4023 and 4028 Microphones Used for All Performances

New World Symphony’s Director of Audio Services Roberto Toledo relies on DPA Microphones’ 4023 compact cardioid microphones and 4028 compact wide cardioid microphones for all performances at the New World Center, including the recent Juanes MTV “Unplugged� concert. more

(Back Row, Left to Right): Ralf Wolters, Antonius Kern, Achim Huber, Guido Preuß, Matthias Reusch, Michael Neumahr, Lambert Kreimer; (Front Row, Left to Right): Tim Dahlem-Jockenhöfer, Pit Lenz, Christian Kreinberg

The 57th edition of the Contest, held in the capital city of Baku, ran entirely with sound equipment provided from Germany-and Soundcraft digital mixing desks were used exclusively. Cologne-based Brainpool was responsible for the production and sub-contractor Toneheads executed the audio element of the show.

Toneheads already had a large inventory of Soundcraft Vi digital desks, and having provided successful solutions for shows like Schlag den Raab, TV-Total, and more recently Unser Star für Baku (the event seeking the German song entry for this year’s ESC) the decision was made to invest in several more Vi6s. This was based on the sound quality, reliability, user interface and flexible MADI routing capabilities of the Vi6, and enabled Toneheads to present a uniform line-up of the consoles at the newly-developed, 23,000 capacity Crystal Hall.

Rehearsals began at the beginning of May, culminating in two semi-finals followed by the Grand Final at the venue on May 26, which was won by Sweden’s Loreen Talhaoui. The show was estimated to have been seen by around 100 million TV viewers across Europe.

A top team of sound engineers was kept busy working on five of the Vi6s (with the other three on standby). Piloting the FOH mix for the main contest were Toni Kern and Guido Preuss, while the opening and interval acts (along with the moderation) were mixed on a separate desk operated by Matthias Reusch, Pit Lenz and Michael Neumahr.

Down in Monitor World three Vi6 consoles were in constant use. The contestants’ reference sound (and opening and interval acts) were assigned to separate Vi6s, with a further desk used in the In Ear Rehearsal Room. These were respectively under the command of Achim Lanzendorf, Lars Studer and Harald Jäger.

With so many acts taking part the sound crew had needed a superb sounding, resilient and – equally important – quick and easy to operate console. Having had so much experience with Soundcraft platforms in German TV shows, all responsible sound engineers were pleased to report that, once again, the Vi6′s delivered in Baku.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

JARKARTA, Indonesia – Indonesian distributor for HARMAN’s Studer, PT. Kinarya Swarna Indonesia, recently organized a Studer product seminar for the radio broadcast industry. Held in the Sari Pan Pacific Hotel Jakarta on April 25, 2012 the seminar was attended by over 70 Indonesian broadcast professionals.

The Seminar showcased the Studer OnAir console range with a focus on the new Studer OnAir 1500 mixing console. The Studer OnAir 2500 mixing console was also displayed.

Studer Regional Sales Director, Keith Prestidge and Sales Engineer, Yee Tat Nam presented a technical overview of all Studer products. Digital radio system design was also covered with discussions covering audio networking and studio workflow and control connectivity.

“Modern radio control surfaces [mixing consoles] need to be highly ergonomic in design,� said Yee Tat Nam. “They also need the control connectivity to talk to other equipment in a way that ultimately makes it easier for the on air talent to perform without errors. Control surfaces, however, still must have access to all the sophisticated features should they be required. Studer has invested a lot of effort into the surface design to get both these aspects right.�

Studer, in conjunction with PT. Kinarya, has successfully supplied both standalone mixing consoles and integrated Studio–MCR systems in to several Indonesian radio stations including the RRI network, Woman Radio, Elshinta Radio and others. “We are very excited by the future prospects in Indonesia and look forward to designing innovate solutions for the Indonesian market,� Prestidge commented.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

NORTHRIDGE, California – Long Island, New York has always been a hotbed of musical talent and now, Long Island boasts a new music venue—the Paramount, a striking 1,600-seat facility equipped with all the amenities to host major artists—including a HARMAN JBL VERTEC® powered line array system. The system was designed and installed by Maryland Sound International, led by project manager Ryan Beck.

Formerly the site of the IMAC (Inter-Media Arts Center) Theater, the Paramount bears little resemblance to the old facility. Beginning in 2009, the interior space was completely gutted and underwent a total renovation. An entirely new audio system was installed including 20 JBL VERTEC VT4888DPDA powered midsize line array elements on each side of the stage and 14 JBL MS28 compact loudspeakers located throughout the venue as lip, under-balcony, VIP box and rear bar fills. Crown I-Tech HD amplifiers power the MS28 speakers. An additional two hangs of six VT4887A compact line array elements each were installed for use with the VT4888DPDA line arrays as part of a 360-degree dance floor system. Crown I-Tech HD9000 amplifiers power the VT4887A loudspeakers.

“The construction of the Paramount was one of the most dramatic ‘before’ and ‘after’ transformations I’ve ever encountered,� said Beck. “Previously, the IMAC Theater was a plain-looking 600-seat room that occupied the top floor of the building, with a basement underneath. The entire floor of the IMAC was demolished, along with almost all the existing interior to create a huge space with floor, mezzanine and balcony seating, a VIP box on each side of the main floor and a large lobby.�

Once the initial demolition was complete, the Paramount owners realized they had a jewel in the making, with beautiful brick walls along all the sides going all the way to the top of a gracefully arched ceiling. “The owners wanted to preserve as much of its character as possible,� Beck said, “including architectural detailing like a patterned metal ceiling and stone ornamentation that dated back more than a century.�

However, that meant Maryland Sound would have to work with some very challenging acoustics. “Those brick walls and hard ceiling made for an extremely reflective acoustic environment—and we couldn’t ruin the look of the venue with acoustic treatment everywhere,� Beck added. “We went with the VERTEC VT4888DPDA line arrays for the main system because aside from sounding great, we knew their controlled dispersion would direct almost all of their sound to the main floor, without bouncing off the sidewalls and ceiling and exciting the space with excessive reverberation.�

“The layout of the Paramount isn’t typical—in addition to the floor, mezzanine and balcony, there is a VIP box on each side of the main floor, and there are bars underneath the VIP boxes with a ‘sky bar’ section at the very back of the hall under the balcony,� Beck noted. “We had to install fill speakers in all of these spaces. The JBL MS28 speakers were ideal—they’re compact, full-range, play loud and mount easily on a wall or ceiling.�

“When it was time to fly the VERTEC VT4888’s, we realized we didn’t like where the plans indicated we had to hang them,� Beck continued. “In most situations you’d just have to live with it, but since we were installing the system at the same time as the main construction, we were able to ask the contractors to install new steel girders at six different points other than originally planned, and we re-did the rigging points right on the spot. That’s something I’ve never encountered before in a club environment.�

Maryland Sound used HARMAN HiQnet™ System Architect™ 3.0 software to tune the system and the interface between the speakers and the amplifiers. “It works so well that we don’t have to use any outboard EQ,� Beck noted.

“We are really happy with the way everything turned out,� Beck concluded. “We were able to deal with a challenging situation and install a system that sounds excellent, and does not intrude upon the beautiful interior of the Paramount.�

For more information on Maryland Sound, please visit www.marylandsound.com

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Corona, CA, May 2012…  Located in the heart of this bustling Southern California city, the Fender Center for Music Education is a busy place. The 33,000-square foot building is home to a music school, a museum, two performance venues, and a recording studio, and the Center is buzzing with activity throughout most of the year.